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The Modern “Indigene” at Le Sauvage Primitif
Danielle Kwock
The Scottsdale Contemporary Art Museum’s most recent SMoCA Nights event debuted the La Sauvage Primitif 2007 clothing collection by Virgil Ortiz. Based in New Mexico, Ortiz is an accomplished artist who has gained near celebrity status in the Santa Fe art scene for his vibrant, edgy designs. Featuring prominent suns, fertility figures, water, clouds and spinach, Ortiz’s designs are largely comprised of traditional symbols passed down from his Cochiti family—but with a contemporary twist.
While traditional in theme, the symbols seem more neo-gothic meet Native urban-punk than Southwestern in origin. An artist at a young age, (he learned to create pottery at the age of 6) Ortiz is accomplished in film, fashion, jewelry, pottery and sculpture. In 2003, he collaborated with Donna Karan and by 2006 had created a clothing label, Indigene.
Opening with a Mohawk-ed male violinist dressed in leather pants, armbands and feathered neckpiece, La Sauvage Primitif featured models dressed in leather corsets, adorned jeans, motorcycle jackets, miniskirts, and even be-jeweled belt buckles. Walking to Depeche Mode, male models were mostly shirtless with piercings, ear plugs, tattoos and Native American looking hairstyles. Female models had black cloth pieces covering their eyes, red vamp-y lipstick and dark straight hair, sometimes adorned with feathers.
The male collection was mostly casual. Studded jeans with tribal designs down the sides, Indigene t-shirts, leather motorcycle jackets/vests, and pants comprised the collection. The leather/denim jackets, jeans and pants all bore Ortiz’s signature Cochiti designs of black swirls, suns and triangles. Jewel encrusted belt buckles, one depicting a pistol, were fun and unexpected.
The words ‘Indigene’(a reference to Indigenous, Indian, Gene?), ‘Strength’ and ‘Rezurrect’ were embroidered into the backs of several jackets and vests, all culminating in a modern day, primitive, Southwestern biker look (but cooler).
The women’s collection featured the same designs printed on flirty A-line skirts, leather jackets, jeans and pants. Black leather corsets were worn with brightly colored, tribal printed skirts. Leather jackets were form fitting and chic paired with jeans and matching leather pants.
The most striking pieces were a long, black leather strapless evening gown with a tulle hem and white swirl design on the bottom side, a white skirt suit with tribal designs on the sleeves and flounced skirt, and a white knee-length tube dress with large printed skulls. An orange paisley halter dress and long plaid coat worn over what seemed to be black boy shorts or very large underwear were puzzling pieces and seemed out of place. However, the overall collection was very well put together and the show entertaining to watch.
Much like Ortiz’s pottery, the La Sauvage Primitiff collection fuses traditional tribal art with hip, contemporary structures and designs. Mixing materials like leather, cotton, tulle, chiffon, and denim, Ortiz has created a collection that feels young, raw, fresh and very now, without sacrificing a sense of the traditional.
Some of his Cochiti designs date back to the 1800’s and yet his interpretation and use of them has translated into clothing that one can easily imagine on the 20 or 30-something urban city dweller, who drives a street bike, of course.
While traditional in theme, the symbols seem more neo-gothic meet Native urban-punk than Southwestern in origin. An artist at a young age, (he learned to create pottery at the age of 6) Ortiz is accomplished in film, fashion, jewelry, pottery and sculpture. In 2003, he collaborated with Donna Karan and by 2006 had created a clothing label, Indigene.
Opening with a Mohawk-ed male violinist dressed in leather pants, armbands and feathered neckpiece, La Sauvage Primitif featured models dressed in leather corsets, adorned jeans, motorcycle jackets, miniskirts, and even be-jeweled belt buckles. Walking to Depeche Mode, male models were mostly shirtless with piercings, ear plugs, tattoos and Native American looking hairstyles. Female models had black cloth pieces covering their eyes, red vamp-y lipstick and dark straight hair, sometimes adorned with feathers.
The male collection was mostly casual. Studded jeans with tribal designs down the sides, Indigene t-shirts, leather motorcycle jackets/vests, and pants comprised the collection. The leather/denim jackets, jeans and pants all bore Ortiz’s signature Cochiti designs of black swirls, suns and triangles. Jewel encrusted belt buckles, one depicting a pistol, were fun and unexpected.
The words ‘Indigene’(a reference to Indigenous, Indian, Gene?), ‘Strength’ and ‘Rezurrect’ were embroidered into the backs of several jackets and vests, all culminating in a modern day, primitive, Southwestern biker look (but cooler).
The women’s collection featured the same designs printed on flirty A-line skirts, leather jackets, jeans and pants. Black leather corsets were worn with brightly colored, tribal printed skirts. Leather jackets were form fitting and chic paired with jeans and matching leather pants.
The most striking pieces were a long, black leather strapless evening gown with a tulle hem and white swirl design on the bottom side, a white skirt suit with tribal designs on the sleeves and flounced skirt, and a white knee-length tube dress with large printed skulls. An orange paisley halter dress and long plaid coat worn over what seemed to be black boy shorts or very large underwear were puzzling pieces and seemed out of place. However, the overall collection was very well put together and the show entertaining to watch.
Much like Ortiz’s pottery, the La Sauvage Primitiff collection fuses traditional tribal art with hip, contemporary structures and designs. Mixing materials like leather, cotton, tulle, chiffon, and denim, Ortiz has created a collection that feels young, raw, fresh and very now, without sacrificing a sense of the traditional.
Some of his Cochiti designs date back to the 1800’s and yet his interpretation and use of them has translated into clothing that one can easily imagine on the 20 or 30-something urban city dweller, who drives a street bike, of course.
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